The Rencontres Internationales invite you to a late convivial breakfast with artists and filmmakers.
Every day, professionals, curators, museums directors or independant organization directors will introduce their work and discuss with the audience.

A screening dedicated to rare and surprising contemporary animated films, most of which are directed by visual artists. Ozan ADAM creates a primitive animation emphasizing the plasticity of forms. Tomomichi NAKAMURA shows ants and a crow becoming symbolic intermediaries between a strong man, a short man and a pregnant woman. Vera Klute transforms the ordinary into the absurd. J Tobias Anderson reanimates extracts from film noir movies and points out the repetition and the wearing down of language. Diego DEL POZO BARRIUSO speaks about women and men submerged by things missing and the loneliness they experience in their work environment. Xenia LESNIEWSKI gives form to her fears and then animates them. Cecilia LUNDQVIST illustrates the inner thoughts of a house wife on the alternative uses of her work tools. Peter BURR shows the insane collapse of a world inhabited by sad clowns. Martha COLBURN illustrates the age-old fight between the weak and the strong. Federico SOLMI shows us a world without hope in a satire of the current economic crisis. Ulu BRAUN lays out a panorama spanning from Rotterdam to Sydney, gathering the symptoms of our society. Félix DUFOUR-LAPERRIÈRE assembles, juxtaposes and manipulates animated structures, little architectures that follow and overlap each other, springing up little clouds. Vladimir TODOROVIC deploys auto-generating processes and adapts a novel into abstract visual and sonorous forms.

Sabrina HARRI throws herself, literally, at advertising posters portraying bodies in urban public places. Mercedes Molla MARFIL acts on the frustration felt by a consumer in a supermarket, by grabbing products eyed by other shoppers, just as they are trying to take the products themselves. Jason WORKMAN improvises a rhythmic choreography in the business district of Greensboro, North Carolina. Wojciech GILEWICZ develops a strategy for urban camouflage, redesigning furniture redessine le mobilier en trompe d’oeil. as an optical illusion. Arne BUNK films the city of Wolfsburg, historical center for Wolkswagen automobile production, molded by large-scale architectural projects since the 20’s, imperatively marking it as a city for production. Isabelle HAYEUR films the DIX30 district in Brossard, the biggest “lifestyle center” in Canada, and confronts us with the loss of our physical orientation at the profit of cultural stereotypes, which have become universal with the help of globalization. Twenty years after the destruction of the wall, Reynold REYNOLDS shows us the demolition of the “Palast der Republik”, the palace of the Republic of former East Germany built in Berlin in 1976. Redmond ENTWISTLE proposes three previews of films yet to be adapted from classic 20th century novels about life in Belfast, focusing on the city’s project to adapt to the new economy with a film industry and new technology. Anibal CATALAN films the building of useless construction sites, in an enormous metropole, a metaphor for the ridiculous nature of symbols of power. Le collectif DEMOCRACIA choreographs and stirs up a crowd of supporters in a stadium during a football game. The representation and the mise en scene of the stirred up congregation takes on a new meaning, that of a force which is demanding, poetic and absurd. Arjen DE LEEUW films two men in a control room keeping watch on a volcano with the help of their screens and cursors, giving us the impression that they can control and change the forces of nature.

Damir CUCIC edits images of Vukovar taken during the Serbo-Croatian war. While the murderers chase their prey, the camera escapes, disoriented, into the forest. In “ Das Lied ist aus”, Ivan FAKTOR combines war images shot in the Croatian city of Osijek with clips from the soundtrack of Fritz Lang’s “M le Maudit”, laying out a macabre portrait of a city devastated by irrational forces and invisible murderers. In “Kangaroo Court” which is set in a disused factory in Zagreb, Ivan FAKTOR adapts the scene from “M le Maudit” where the Berlin subway crowd judges and accuses the murderer. Pieter GEENEN films the Three-Gorges dam in China and questions the meaning of such a devastated landscape. Basma ALSHARIF also explores the ultimate disillusion that comes when material images fail to communicate the tragedy of a country at war. Till ROESKENS asked the inhabitants of the camp Aïda in Bethlehem to draw a map of their surroundings. The film shows the drawings being created, accompanied by narratives, which bring life to these subjective geographies. Soren Thilo FUNDER shows us men and women on the outskirts of a city, joined together to banish the bandit “Friedlos” (the Wolf-man bandit). They play out the banishing ritual in which they attach the outcast to a horse before exiling him from the city. Lida ABDUL films children transforming airplane scrap into kites in a suburb of Kabul.

From found footage, Julius ZIZ recalls and dreams about a multidimensional world. The phone rings, awakening him from dream and memory. Quimu CASALPRIM directs a stereotypical couple until their symbolic and narrative break-up. Patrick JOLLEY films a man lying on a bed in a hotel room, snakes surrounding him and slowly slipping in and out of his clothes. Jean-Pierre KHAZEM and Misi PARK follow an incredible character who creates his own imaginary world. Theodore TAGHOLM offers the portrait of a man who directly communicates with poet Walt Whitman, deceased in 1882. Using a sequence shot, Gaetano LIBERTI films an abandoned school and underlines the impossibility of truth. ZAPRUDER materializes the dream of a boy who was traumatized by what he has seen. It is a fall into an interior world, a place without any object of consolation, the search for a new dragon to defeat.

Alix DELMAS films four people in the desert. In a western-like landscape, they put together shapes in polystyrene. In the twilight, the installation unveils itself. Christoph MEIER showcases a film set with extras, and recreates the anticipation for action and suspense. Simon MULLAN offers an experience like no other: fireworks in a tunnel. Dora GARCIA films architect Henry van de Welde’s “La Maison Wolfers” in Brussels in subjective camera. Sound and image are dissociated and a man’s voice can be heard commenting on the principle of the subjective camera, especially used in Samuel Beckett’s “Film” (1965). Carles ASENSIO MONRABÀ documents the rise and fall of a small theater in Sant Celoni, a village close to Barcelona. The projectionist works there as usual, although he is aware of its impending final close. Gustavo SPOLIDORO asks about the future of cinema. With that same question in mind, Wim Wenders filmed Antonioni, Fassbinder, Godard and other filmmakers at Cannes in 1982. 26 years later, the same question remains and it is now Wim Wenders’s turn to answer the question. In 1978, Ira SCHNEIDER shared a beach house with Jean-Pierre Gorin in California, who invited Jean-Paul Godard, Wim Wenders, Heiner Müller and Jim McBride. Manuel SAIZ films two actors on a set discussing the similarities and differences between video art and cinema, shooting, budget, and the different approaches to fiction and reality that both practices have. All the while the camera moves in on them.

Fani ZGURO manipules a film noir shot in Albania in the ’70 and transforms it into its own film trailer, using a song by Nick Cave and the Bad Seeds as the soundtrack. Maia PEDRO uses the film « A Zona » by Sandro Aguilar as a spring board, and exposes the defaults inherent to film. These images drive us to a state of indetermination, in which the narrative and temporal logics are forgotten. Vivian OSTROVSKY directs a cinephile farce, by showing fragments of more than 25 films, from the 20’s to the 90’s, with cowboys, indians, and damsels in distress. Quotes by Wittgenstein, Gilles Deleuze and Slavoj Zizek punctuate the ensemble. Bob PARIS reworks « Shadow of a Doubt » by Alfred Hitchcock. Volker SCHREINER uses signs of emptiness as a motive. Eli CORTIÑAS HIDALGO stretches an end scene into infinity. Karel DE COCK proposes a meditation on female representation in western films, by reworking a scene from “The Searchers” de John Ford. On a split-screen Jean-Jacques PALIX combines rushes of feature films representing record players or DJs. A film mixing a film, the soundtrack consists of sound clips from the original rushes. Antoni PINENT directs a cinematographic piece which questions the definition of the frame as a minimal unit of cinematographic time, and breaks it up into four fragments. He revisits extracts from avant-guard and experimental Hollywood films. A balance of images is conserved, while still offering an analysis of the history of cinema. Cinema in a state of reinvention, destruction and explosion.